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...want to hear the music of Satchmo or view the paintings of Rothko for Core credit this semester, your fate may be determined by a roll of the dice...

Author: By Stephen J. Newman, | Title: Lotteries to Limit Two Lit-B Class Enrollments | 2/4/1989 | See Source »

...MOCA announced with much fanfare that it had agreed to buy, for $11 million spread interest-free over six years, a group of works by Rauschenberg, Oldenburg, Rothko and others from Count Giuseppe Panza di Biumo, the Italian industrialist who was one of its trustees. Though it seems odd that a trustee could make a fortune by selling to his own institution, the deal was perfectly legal in California. "There's good self-dealing and bad self-dealing," says Director Koshalek philosophically. Then last November word leaked out that Count Panza's fellow trustees had discussed selling some...

Author: /time Magazine | Title: Art: Getting On the Map | 1/12/1987 | See Source »

...could certainly argue, on the evidence of this show, that Kline possessed neither the innovative powers of Jackson Pollock, nor the ramping, risky intensity of Willem de Kooning, nor the reflective pictorial intelligence that distinguishes the best work of Mark Rothko or Robert Motherwell. But he was still, when on form, a first-rate painter, well worth scholarly attention. So why have we seen so little of him? Because, it seems, the common curatorial view is that Kline was a backup man, not an innovator. This has chilled the interest of museums, if not the market. So, until a fuller...

Author: /time Magazine | Title: Art: Energy in Black and White | 2/10/1986 | See Source »

...decade's worth of paintings: the stark abstractions, composed of thick bars, props and vectors of black on a white ground, that he made in New York after 1950. Their iconic monochrome stamped itself on American cultural memory as vividly as Pollock's drip, Newman's zip, Rothko's blur or the shark smile of De Kooning's women...

Author: /time Magazine | Title: Art: Energy in Black and White | 2/10/1986 | See Source »

Americans once tended to treat high art as a refuge from mass culture. Let Hollywood exude whatever schlock it wanted; let the Box leak its eight hours of imagery a day into the average viewer's skull -- there would always be the Manet or the Rothko in the museum to reorient the distracted eye. The demands (and rewards) of painting were one thing, those of mass media another...

Author: /time Magazine | Title: Art: Careerism and Hype Amidst the Image Haze | 6/17/1985 | See Source »

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